The edges where the gown back and skirt front join are cut at angles, and thus have raw edges this was a common feature among dresses I examined at the Museum of London. If I had cut the fabric extra time that would not have gone into original production processes would have been taken up in finishing the raw edges, or an inaccurate type of seaming would have been required. The reason I did not actually cut the fabric is because in original garments these would be selvedge edges, not raw and requiring overcasting to keep them from fraying. The centre back fabric joining seams were sewn with small running stitchesĪs you can see here, I created the fabric joining seams by simply folding the material into a 1/4″ tuck. In order to make the dress fit neatly into my fabric’s width, I added seams for a fabric of approx 19″ width. Silk fabrics of the 18th century were typically 18″-20″ wide, and panels were sewn selvedge to selvedge. I sewed the long seams of the gown (centre back and skirt seams) including adding what would have been fabric joining seams. I started with 8 1/3 yards of 60″ wide silk taffeta – we’ll see how much (if any) is left after I’ve finished all the cutting. I cut out the gown pieces (back, bodice fronts, and skirt fronts), sleeves, bodice lining pieces (fronts and backs), and sleeve lining. – Gutermann 100% silk threads in white (col.
– pale blue tabby (plain) weave 100% silk taffeta But do give me your two cents!! I will not be trimming for a while yet as I am waiting on a scalloped pinker for finishing the edges of the self fabric strips that make up the trimmings. The reason I have chosen not to leave these plain is that, from what I have seen and read so far, these components of a 1760s ensemble would have been made and trimmed to match the gown. If you think this is a sketchy form of practice and too close to “made up”, let me know – especially if you have any alternative suggestions for me. The stomacher and petticoat trimming are projections of my own based on other artifacts I observed during my two months in England. The trimmings around the neckline, down the robings, and down the skirt front edges are taken directly from the gown at the Museum of London. It is a copy of the sketch in Patterns of Fashion for the pattern I used, with the addition of trimmings and stomacher (as opposed to compere). The sketch below illustrates this amalgamation. Other elements from this dress that I’m replicating are: the lacing in the bodice centre back seam to allow fitting adjustments double as opposed to treble flounced falling cuffs making a separate stomacher (now missing from the original garment) instead of a compere front. I will be trimming the reproduction in the same manner as this dress with ruched, padded, and pinked strips of self fabric. The other influence for this ensemble is a dress in the Museum of London’s collection: accession #53.101/14 a pale blue sack dress c. I was very silly and did not think to examine this particular example when I visited Berrington, so am muddling through as best I can with the pattern as laid out by goddess Janet. 1770-75 Snowshill Manor” (now at Berrington Hall) pg 34. The bulk of the pattern (gown and petticoat) comes from Janet Arnold’s Patterns of Fashion I : a “sack dress with a matching petticoat and a buttoned ‘compere’ or false front c. The sack I am making is a sort of combination reproduction:
0 kommentar(er)
